Compose styles
Rather than blending styles toward a middle, this gives them roles. The first one carries the structure, the next comes in as the accent, and anything after that shows up in a single detail. Where they fight each other, it says so before you start.
How to divide the work
- Composition
- Follow Goryeo Celadon: Run narrow bands at the rim and foot and leave the wide body largely open. Scatter motifs on a diagonal rather than symmetrically so the void carries the piece
- Type
- Set in Goryeo Celadon's manner (The vessel itself carries almost no lettering. If a mark or a label is needed, set it small in a fine serif with thin vertical strokes, clear of the ornament's empty ground), and let Iznik Pottery's lettering (If you use lettering, run it as a band and give it the same rank as the ground pattern) appear only where you want the eye to catch.
- Material
- Ground in Goryeo Celadon's material (Cover a grayish white body carrying trace iron with a translucent glaze between green and blue green. Cut the pattern into the body, fill it with white and red slip, then glaze over so it sinks); bring in exactly one thing from Iznik Pottery (Transparent glaze over a white body, with the red raised to give relief).
- Colour
- Build on #7E9A86, #D9D2BE, #3B3730 and admit one accent from #e8e8d8, #ab4f39, #384a74.
Where they fight
- Goryeo Celadon and Iznik Pottery both belong to Ceramic Styles, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Goryeo Celadon Flattening bisaek into a generic green makes the inlay read as printed on the surface and destroys the depth the style depends on.
- Iznik Pottery Tiling the ornament flat loses the logic of the vessel. The handling of the curve and the rim is the pivot of the style.
Image prompt
Produce four original images that take their structure from Goryeo Celadon (style, 918–1392) and their accent from Iznik Pottery (style, 15th–17th century). ## What to make Make the kind of thing Goryeo Celadon exists for: fixing the green range as a colour reference for an exhibition or catalogue of Korean ceramics, or translating the look of pattern sunk beneath a translucent layer into print finishing or screen layers. Choose one subject and hold it across all four. ## Structure comes from Goryeo Celadon - A translucent glaze running from green to bluish over a grayish white body - Inlaid lines of white and red slip sitting visibly below the glaze surface - Incising, relief carving and openwork used together on one vessel - Small passages of iron or copper pigment painting, dark brown or red, on the green ground Composition: Run narrow bands at the rim and foot and leave the wide body largely open. Scatter motifs on a diagonal rather than symmetrically so the void carries the piece. Type and lettering: The vessel itself carries almost no lettering. If a mark or a label is needed, set it small in a fine serif with thin vertical strokes, clear of the ornament's empty ground. ## Accent comes from Iznik Pottery, used sparingly - The brilliance of a white body under transparent glaze - Cobalt blue and a red that stands in relief - Spiralling plant ornament - A continuous composition turning around a curved surface Let one material quality come from it: Transparent glaze over a white body, with the red raised to give relief. ## Colour and feeling Build the ground on #D9D2BE, carry the structure in #7E9A86 and #3B3730, and let a single accent come from #ab4f39. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: calm, luxury, technique, exhilaration. ## Where they fight - Goryeo Celadon and Iznik Pottery both belong to Ceramic Styles, so the difference is small. Push the roles further apart than feels comfortable. ## What goes wrong - Goryeo Celadon: Flattening bisaek into a generic green makes the inlay read as printed on the surface and destroys the depth the style depends on. - Iznik Pottery: Tiling the ornament flat loses the logic of the vessel. The handling of the curve and the rim is the pivot of the style. ## Across the four Keep the roles fixed in all four. Vary the framing, the scale and the arrangement so the set shows what this pairing can do rather than four versions of one picture. ## Constraints - Do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. - Do not reproduce the composition of an existing work. - Produce original compositions in the general period languages described above.
Related entries
- Goryeo Celadon 918–1392 / Style / Ceramic Styles
The main ceramic style of Korea's Goryeo dynasty, built around glazes that range from green to bluish, the finest of which was called bisaek, or jade colour. The clay body carries traces of iron and fires a grayish white, which sets it apart from the pure white porcelain of the same centuries. Because the glaze stays translucent, inlaid decoration cut into the body and filled with white and red slip reads as if held under water.
- Iznik Pottery 15th–17th century / Style / Ceramic Styles
The pottery reached by the Ottoman kilns, setting brilliant blue and red on a white body. Tulips and carnations turn in spirals around the curve of the vessel, and on the wall tiles of a mosque geometry and plant ornament coexist on a single surface.
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